ROBERT PRINCE; His score sets for "Wonder Women" "Bionic Women" Newman's Law and Ironside were dymamite. DANA KAPROFF for "The Amazing Spider-Man and Exo-Man. MARTY PAICH: scores for Ironside were as funky as you can possibly get. WILLIAM LOOSE: Bummer LEE HOLDRIDGE; for his 3 scores he did for "McCloud tv series 72/73. Also check out JIMMIE HASKELL's mega long action packed chase funk cue from the film "Outrage" 1973..ooft
*None of the above with the exeption of Wonder Women have been released.
North collaborated with Band leader Robbie Robertson to score CARNY (1980) which is definitely a funky soundtrack (check out North's composition "Lust" for example).
North also scored 1979's WISE BLOOD for Jhon (sic) Huston.
“Because ‘funky’ is the foremost adjective when describing film composers beloved by the typical FSMer.” [see also: “Hans Zimmer”]
~Aristotle
I didn't catch this witticism from the much-missed JP last December.
I thought it would be a good time to bring this thread back up to dilute all of the Justice Trek and Star League talk. Give a listen and get up and groove to one of the links listed here - or add any other - especially 1970s - excellent funk score tracks.
Unless I missed it, David Shire's disco instrumentals for "Saturday Night Fever" were terrifically funky (as was Morton Stevens' takeoff of Shire in "Hardly Working"). Also, Stevens' and Broughton's work on latter season "Hawaii Five-O" episodes, "Turkey Shoot at Makapuu" (Stevens, in his best "Police Woman" mode) and "Ready, Aim..."(Broughton/Broughton), Bruce including some clavinet licks which would make even Stevie Wonder take notice. The latter also features my favorite bit of Chin Ho dialogue: 'Steve, somethin's goin' down.'
The two post-In the Heat of the Night Virgil Tibbs movies, They Call Me Mister Tibbs! (1970) and The Organization (1971), offer a contrast in their approaches to scoring. Tibbs is catchier, groovier; Quincy Jones trades the sultriness of Heat of the Night for driving, urban funkiness. I don't have the album, so I don't know what this cue is called, but the propulsive music during the foot chase of Sidney Poitier's Tibbs going after creep Anthony Zerbe through the streets of San Francisco's Chinatown is exemplary. It's pretty close to the main title music actually:
Great bass throb, outstanding use of horns and organ.
For The Organization, Gil Melle took a different approach. Less driving and tuneful, more acid and atmospheric.
